Buttercups Diversify!
Posted by Olivia Kent on June 19, 2013 at 11:46am
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Buttercups Diversify!

In peach tinted temple of time,
Painted in poetry's dreams,
We kiss, we talk, we ,
Writing leisure through pleasure and pain,

I laid on your bed,
You bathed my shoulders so sore,
Left me smouldering with desires for you,
You donated to me, while we played in daylights sweet kiss,
A sweet single bright buttercup,
Dressed in waxen yellow,
Precious petals sparkling, shining ,
Glowing in the afternoon, after laying on the the spiky dry grass,
After dancing had passed,

A garden full of dreamers dressed in pink and white, blessed with fragrance, pure.
Collected from a century of rose tree,
The tree had seen much over the years about a century I was told,
Witnessed bombings in the blitz,
Watched mother's father's children's kiss,

Flowers of such beauty, dressed with a drizzle of love's sensation tickles,
As the dance goes on!
By ladylivvi1
© 2013 ladylivvi1 (All rights reserved)

721

Behind Me—dips Eternity—
Before Me—Immortality—
Myself—the Term between—
Death but the Drift of Eastern Gray,
Dissolving into Dawn away,
Before the West begin—

’Tis Kingdoms—afterward—they say—
In perfect—pauseless Monarchy—
Whose Prince—is Son of None—
Himself—His Dateless Dynasty—
Himself—Himself diversify—
In Duplicate divine—

’Tis Miracle before Me—then—
’Tis Miracle behind—between—
A Crescent in the Sea—
With Midnight to the North of Her—
And Midnight to the South of Her—
And Maelstrom—in the Sky—

a lupine prayer
to bear and bull
cry wolf
cry wolf
cry wolf
now look into his eyes
until you think like I do
and then take a desperate man
for his last penny
(finance options available)
go long on a cheeky Nando's
followed by
no
inflation
constant
expansion
short the small print
and profit from the fight
against pollution by
investing in the future
but as returns don't come cheap
diversify and purify the self
the Ganges is so polluted
it has gall bladder cancer
the main economic indicators
are telling us that
inflation is set to jump, while
British statisticians are optimistic
that the housing ladder
will continue to defy gravity
as it is an export barometer
with a blue eyed quant inside
crying wolf
crying wolf
cry wolf

my heads up in space
but
please give me grace
im
working at a slower pace
and
im not in a very good place.

you say you believe me but that’s a lie
you know,
sometimes i’d just rather die
you don’t
believe how i identify
you know
it doesn’t hurt to diversify.

I used to keep my baby teeth in a butterscotch tin.
I guess I was making an investment
in tooth-fairy stock; trying to diversify my easter bunny portfolio.
Quarters: Like chocolate I could feed into a Coinstar and turn to dollar bills
which I could then use to buy more chocolate.

I just, hey, I just remembered that I have a butterscotch tin filled with quarters
sitting in the back of my closet right now. Funny,
when things move in circles like that--I can’t even remember
the last time I ate a butterscotch. Or even how my final tooth
came out, which I’d think would be a milestone.

I was eating an egg-salad sandwich when I lost one of the last ones--
I just took a bite and one tooth stayed behind.
For weeks I couldn’t even look at a sandwich,
I just kept thinking about the disturbing look of blood on mayonnaise.
I wonder if there’s much business for the tooth fairy these days--
my dad, winding blue ribbons around small stacks of quarters so they’d look nice;
my dad, stepping on LEGOs in the dark and stifling swears;
my dad, navigating bedroom geography to make a swift exchange
while I slept and turned a tidy profit, trading old small parts
for riches and a grown-up mouth.
Now I wonder what they did with my wisdom teeth,
after they pulled them out last year.
Were they drilled out, finally, into dust? Or did
a dental surgeon slip some pilfered teeth
beneath his pillow on the sly,
turning one last profit out of my face,
the summer someone noticed
I needed a grown-up mouth?

All I know is that for days
I stayed at home moaning into my pillow,
strung out on percocet and eating anything
that could be sipped through a straw.
(It was only then I discovered the Sonic had stopped
serving butterscotch shakes--years ago, apparently.
You’d think I’d have noticed. But then, you’d think
I’d notice lots of things.)

I wonder how much my teeth would be worth now.
I wonder if the tooth-fairy has adjusted for inflation.
I still get excited over stray quarters,
but now I guess I just have to find them on the street
like everyone else does.

Sitting alone in my bed,
Anxiously yearning the touch of something different.

Contemplating about differences,
Visualizing the new experiences,
Mesmerizing about different beauties,
Fantasizing the new opportunities,
About women of different cultures,
Ethnicity and upbringing.

Pay no mind to the language barrier,
As our body speak that universal language,
We can have intellectual conversations,
We can have passionate  interactions.
Lets's ponder with deep imagination,
As we diversify this love, ignore it's discrepancies,
So girls of all colors come closer and get drawn like crayola,
As we paint this picture to see what we can make of this blend of colors.

Envision this:
Background music effectively babysitting my thoughts as I listen,
Laying under the moon, 
With that special person. 
Inwardly rehearsing, 
Every move to make, 
Opportunities to take,
Intaking the passion from the air she breathes out, 
Creating chemistry not even Einstein could figure out.

This love should be an equal opportunity,
You plus me that's all that should matter.

So would you explore your heart?
Release the stereotypes that keep you in the dark?
As darkness falls,
Our temperatures rise.
A reflection of moonlight shimmers in those eyes.
They tell me your secrets;
I tell you no lies.

What lies beneath your skin will be ugliness' demise.
Ironic, in the dark you see me for who I truly am.
And I tell you who you truly are.
So far. So good.
So deep, it goes beneath your beauty,
It goes beyond whatever society will tell you not to do with me.

Tonight your biases shall not rule thee,
For I am king of this pride.
Swallow your pride and swallow my pride.
Release the wait of inhibition and take this ride.

Our inner flames fueled by passion shall light our way.
They say, we are blind but it is only in darkness that we truly see.

Give up shallow emotions, let your heart be free.
Immerse yourself in this reality:
My love is river, all else is only skin deep.

Getting the fashion industry excited about an event is no plum task. And yet season after season, Anna Sui does it with her thoughtful and fun runway shows. Blame it on her ability to transport her audiences deep into her world full of references that range from Pre-Raphaelites to Diaghilev to disco. (Of course, the retro soundtracks and top models don’t hurt, either.)

Lately, Sui’s been sharing her passion for fashion history with a wider audience by taking on many collabs, the latest of which is with O’Neill, in stores now. Just in time for summer, the designer crafted a selection of swimwear and cover-ups that echo the bohemian mood of her main collection but also target a new kind of customer. We caught up with Sui at her Soho store to reflect on her career, her favorite muses, and texting with Anita Pallenberg.

You’ve been doing more collaborations in general lately—why is it important to you to diversify into these arenas?

Well, there are certain limitations that we have as far as production for what we’re able to do. A great way to overcome that is to work with somebody who has the expertise in that product. So working with Frye, they make the coolest, sturdiest boot that you can imagine, and so I think this is my third time collaborating with them. They’re just dreams to work with. It takes you to another place. And also you learn so much, because we’re so limited as far as resources now that it opens up new avenues. I did the same with the Coach bags and with the luggage with Tumi and now this collection with O’Neill.

How did you get involved with O’Neill?

Our sales manager knew somebody at O’Neill, and she started thinking that it would be such a great pair-up between O’Neill and Anna Sui because O’Neill is very much our girl. They’re very print-oriented and known for their surfer style, but we wanted to incorporate our bohemian style with it. I think that we’ve blended it so well. The clothes are just so dreamy; we were all just oohing and ahhing over these lace pieces.

That perfect white lace dress is a very necessary summer item.

It’s so true. I remember one summer I was looking at Naomi [Campbell] pictures on a yacht on Daily Mail or something, and every day she had the most beautiful, little white baby-doll dress. I thought, Where did she find all those?! But she can just zero in on something, too. That’s always been my dream, to have all those gorgeous white baby-doll dresses.

You have the best references season after season—who was the beachy surfer girl that you looked to for this collab?

We wanted to capture that true bohemian feeling of the ladies of Laurel Canyon: Joni Mitchell, Michelle Phillips, all those girls you put pictures on the wall and are like, “I hope I grow up and look like this.” So what we tried to capture was that dream.

I think fashion in general is really swinging toward the Anna Sui vibe, very bohemian.

It’s exciting. It’s kind of like a new beginning again. We’ve had so much reaction from all the stores and press—it’s like when I first started. It’s got that same feeling. It’s wonderful.

How do you define who your customer is and continue to change and grow with her over the years?

I think that somewhere I never grew up, and it’s still that same dream as when I was looking at the pictures of Michelle Phillips. It’s still always that same thing, and no matter where I go with the collection, Vikings or Pre-Raphaelites, there’s still that bohemian girl there. That was always my ideal. As much as I try to veer away from it, there are always a couple of those Michelle Phillips and Joni Mitchells in the collection. Through every collection you can find them.

So what’s the secret to staying young forever then?

I think loving what you do. You can’t ask for more. This is what I wanted to do since I was 4 years old, and just the fact that I’m able to do it and do it globally—I work in Japan and I work in Europe and I work in New York—it’s kind of a dream. It’s a lot of hard work and I’m very, very dedicated to it. I do a lot of sacrificing of other things, but it’s what I’ve always wanted.

As someone who’s been in the business for so long, how do you stay inspired and not get worn out or jaded?

One of the things that I love the most is research—learning new things and exploring new things. That’s what I do when I work on a collection: I find something that sparks my interest and then I’m obsessed with and I just go into it. It’s like going into the rabbit hole. Then all of a sudden you find out all these other things because one thing leads to another. Like when I did the Ballets Russes collection [Fall 2011], I saw that beautiful Diaghilev exhibit at the V&A; and I thought, OK, now I can be inspired by those Léon Bakst drawings. I remember one of the Ormsby Gore sisters was telling me that the way they started wearing vintage was because of a sale of the Ballets Russes costumes in, like, 1968. They couldn’t afford the principal costumes, but they could afford the costumes of the Sugar Plum Fairies, all these crushed velvets. So they started wearing them on the street, and all of a sudden the Beatles and the Stones and everybody else started following what they were doing. Well, don’t you know, in the Diaghilev exhibit, there was a film of that auction. I was just like, “Oh, my God.” That’s what sparked that whole thing where everyone was looking romantic and medieval. I love finding that connection. That makes my day—that makes my season when I find that out.

Do you feel like it’s harder or easier today to communicate that to your customer? I feel like with the pressures to make Instagrammable moments, it’s become very hard to get people excited about the history of fashion.

There are so many levels in what I do. Somebody like Tim [Blanks] will get the really intricate things, but then the obvious things will be the things that people talk about the most. I always try to bring it all back, make it current, and tie it in to something that’s happening in our pop culture, like the Viking thing. It’s really true—I was watching [the History channel TV series] and I got that idea. It wasn’t an intellectual idea, but that’s really how it happened. I think that you have to put it on different levels.

Is there one specific era or muse you feel like is the most Anna Sui?

My biggest idols are Anita Pallenberg and Keith Richards. So at the end of the day, it’s always like: Is there something that Anita would wear? Is there something that Keith would wear? Is it cool enough for them? And then I usually send Anita an image and say, “This is the outfit that I did for you.”Read more here:marieaustralia.com | www.marieaustralia.com/evening-dresses

When will we ever learn
Not to love with ALL our heart
I suppose it just means
I'm a bad economist.

I haven't been writing much lately.

My vault is being emptied into you
Instead of into poems,
I think.

Maybe I'm running low
And need to go to the bank to get some change.

Maybe I need to
Diversify my portfolio, so to speak.

Maybe
I need to go to the casino
And take a gamble to see if I can refill it.
But I've never been good at any game but slots
So you'd have to come help me.
We can count cards all night
And stuff my safe with the anticipation
And risk of getting caught.

Maybe I just need an accountant.
Maybe I need a loan.
Maybe I need you to be my loan-shark.

1.
Because you are lonely too. And you know what it's like to spend hours waiting for a notification that someone values what you say. Verification that some of the people in your box of friends still walk through your forests waiting for trees to fall.

2.
Because you didn't understand the metaphor and so it must be deeper than your reach. Because people who appreciate poets are more approachable than poets themselves, and are far less likely to spend Saturday nights alone.

3.
Because the words look like family. Because when they pass your teeth it's as if your heart joins in chorus, and their syntax wraps cozy round your shivering bones. Because their eyes look like yours and because they know how to cut you, but don't.

4.
Because you are in love. And if a raccoon tore a hole in your garbage bag, ate last week's green chocolate cake, and returned it to your porch shortly after, you would see poetry in it. Because poems look like pies through rose colored glasses and it's really hard to find a bad pie.

5.
Because you hate this poem but won't tell me. Because our relationship hangs on your approval, and you know I'll expect you to make me feel ok about writing this. To tell me people don't appreciate real art anymore, and that's why no one else has responded.

6.
Because it doesn't rhyme, and there are numbers separating the stanzas that force you to read the last line slowly. Because it references Facebook and so it's something you can relate to. Because it's cliché enough to be memorable, and a little out of the box but still inside mine.

7.
Because you know why I wrote it. And you know that seeing your name beside it will be all the consolation I need. Because their is loyalty in a signature that even our forefathers acknowledged, and because it's the best way you know to take sides.

8.
Because the last thing you liked was McDonald's French Fries and you're looking to diversify your portfolio.

9.
Because you want me to remember you. Because we haven't spoken in years outside of birthday wishes and silence is a hard habit to break. Because neither of us is sure who the apology belongs to but because you're willing to take a step on faith.

10.
Because you know the impact an echo can have on its target. Because we all scream from stages built with fearful hands. We carry microphones in our pockets on nights too quiet to sleep and purge our lungs of their angst. Because this cave can not be empty. Because words are not like family unless they are spoken by someone we love. Because some nights all I need is a name to believe I still have my own.